//. Route. G1
The ford (167U); 528. D. Teniers the Younger, Landscape with figures; 258.
Dirk Hals, Backgammon-players; "247. Grenze, Psyche crowning Cupid;
476. /. van Ruysdael, Landscape; 533. Terburg, Portrait; 199. G. v. Eeckhout,
Continence of Scipio on conquering Carthage (1669); 26. N. Berchem (?),
Italian landscape; 634. 0. Weber, Going to church.
From Room IV. we enter the —
"Musee Wicar, a collection of upwards of 1400 drawings by the most
celebrated masters, chiefly of the Italian school, formed by the painter
J. B. Wicar (b. at Lille 1762, d. at Rome 1834), and bequeathed by him
to his native city. It is arranged in schools, the masters of each being
placed in accordance with the dates of their birth, and their names
being in most cases inscribed on the frames. Beside the most important
sketches are placed engravings from the corresponding pictures, afford¬
ing an opportunity for most instructive comparisons. This collection is
open at the same hours as the picture-gallery.
On the stands in the middle of the First Room are placed the most
important drawings of Raphael (the authenticity, however, not in all cases
certain). On the walls are sketches of the later Florentine and Roman
Schools. On the end-wall are a few reliefs, among which is the Daughter
of Herodias, by Donatella. — In the Passage, in a niche to the left, is a
famous '"Head of a girl, in wax, long ascribed to Raphael but now re¬
cognised as ancient; the drapery of the bust is of terracotta. This unique
work was probably found in a Roman tomb. — Large Salooh: Stand I.
Late-Byzantine miniatures and early-Florentine drawings (Fra Bartolom-
meo and others). Stand II. Michael Angelo and Baccio Bandinelli. Stands
III and IV. Architectural drawings. Stand V. Later Florentine artists
(Sanli di Tito, etc.). Stand IV. Venetian and Bolognese Masters (Veronese,
Guercino). The drawings on the walls are mostly by second-rate masters
of the 17th century. — Last Room. Stand I. Early-German Masters
(Schongauer, Diirer). Stand II. Flemish Masters. Stands III and IV.,
and also the walls, are devoted to the French School.
Leaving the Hotel de Ville, we now cross the large Place in an
oblique direction to the Rue des Debris St. Etienne in the opposite
corner, and proceed by this street, the Rue des Pretres, the Rue
Basse (right), and the Rue du Cirque (first to the left) to Notre Dame-
de-la- Treille (PL 8; E, 2), a church in the style of the 13th cent.,
designed by the London architects H. Glutton and W. Burges, ami
begun in 1855. The building was planned on so ambitious a scale
that little has been completed.
The Rue Basse leads hence to the Rue Esquermoise (PL E, 2,3).
one of the principal streets of the old town, the appearance of which
has been much altered by the construction of the wide Rue Thiers.
The Gothic church of Ste. Catherine (PL 10; D, 2) contains a
high-altarpiece by Rubens, representing the saint's martyrdom.
The handsome Boulevard de la Liberte forms the boundary be¬
tween the old town and the new quarters built in the modern Pari¬
sian style. In the Place de la Republique rises the spacious new
Prefecture (PL 26; E, 3).
The Porte de Paris (PL 27 ), belonging to the old fortifications,
but spared on their removal, was built in 1682 in the form of a
triumphal arch in honour of Louis XIV. —The church of St. Mau¬
rice (PL 14; E, 3), near the Grande Place and the railway-station,
dates from the 13th century.
From Lille to Brussels (68 M., in 21/4-3l,2 hrs. ; fares 8 fr.
30, 6 fr. 25. 4 fr. 15c"). About i M. to the S. R. of (X VI.) Ascq is